Suche:on spec

A mainstay of the independent funk, soul and blues scene - Dr Rubberfunk's home-grown, honestly composed, and intricately produced recordings, combined with a hands-on approach both in front of and behind the mixing desk, have earned him a well-deserved reputation for being a name synonymous with quality.

That quality just keeps coming as he carries his successful 'My Life At 45' singles series into a third instalment. With two sell out runs of limited edition 45's having won praise from the likes of BBC6 Music, driven mixes on Mixcloud to the top of their charts, and garnered support across the blogosphere, it made sense to continue the good work and get to work on number three.

Extending his fruitful relationship producing fellow Jalapeno Records artist and soul gospel specialist Izo FitzRoy, the lead track sees them team up for some timeless songwriting in the shape of 'A Matter Of Time'.

Izo is on a real hot streak at the moment having featured on Pt.2 of this 7" series before going on to work with Shawn Lee (BBE Records) and Dimitri From Paris (Glitterbox) on singles that tore up radio charts worldwide. And she delivers on this track once again, with the catchiest melody you'll hear this year over Rubberfunk's tasteful, upbeat and lively production.

Backing it up is the bluesy 'Slim's Mood' which allows the Rubberfunk band to stretch their legs over a driving soul jazz arrangement that's a must for fans of 'Boogaloo Joe' Jones and Grant Green. ... As before, it's likely to be another sell out run, so move quickly before they disappear!

Dutch Techno master Orlando Voorn has opened up his archive for the first of what will be an ongoing artist focused series brought to you by Above Board Projects. The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. With this initial release we are proud to introduce the lead-in sampler 12" for Voorn's forthcoming 2-part archival collection entitled 'Diligence'. Each track has been carefully selected and programmed in conjunction with Orlando Voorn and this 12" even features the unreleased and previously unheard gothic 1992 techno masterpiece 'DX Me Silly' which was very kindly excavated from the DAT archive specifically for this project. The 12" also features the classic sounds of Fix's 'Life Beyond The Clouds' featuring Detroit legend Blake Baxter. Orlando Voorn's association with Detroit has been long running since day one and some of the music contained within this compilation celebrates that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. In short, this is a must have for any serious Techno fan! All tracks fully licensed and remastered with the full permission of Orlando Voorn. Remastering and lacquers by Curvepusher. Compiled and directed by the Above Board Projects team. Design and layout by atelier Superplus. 2019

With its fourth catalogue number, Steinlach returns to the vinyl format with a remix EP. On board are international friends of the label, who layed hands on Wice's originals with outstanding re- interpretations. While the A-side contains two groovy and club-oriented remixes of "Just kiddin", the trippy flipside focuses on the second outcome of the label and refers to the two pieces "Absent" and "Hertz".

The record opens with a fast-paced and jacking "Just Kiddin" version by Deep'a and Biri. The two guys from Tel Aviv re-interprate the clubby aspect of the piece, furnish it with a portion of percussions and accompany it with a volatile beat. Discharging the track with a big bang, they're leaving the listener with no chance but to move energetically to the groove patterns while cherishing the original lead melody.

Just like Deep'a and Biri, Jon Hester bets on the energy and the recognition value of the original synth line. As typical for Jon, he gives a more Chicago-style housey and bouncy touch to the composition. The lead is getting chopped, re-interpreted and re-arranged into a new groove and melody pattern, sure to inspire the floor to shake and to catapult everyone around into a frisky dancing mood. Suddenly, the well-known arpeggio of the original comes in and makes for the climax of this brilliant remix.

With side B, the club aspect of the record might not be left behind, but moved into more stripped and trippy terrains. The B1 track is fashioned as a ruthless "Absent" version, unmistakably having Refracted's writing all over it. The smallest variations of the synth line, drones, and pads, without resorting to typical drum rack aspects, find their way deep inside the listener's head, and draw them into their subtle rhythm. The unapologetic roughness of the interpretation is striking and makes it a brilliant peaktime weapon.

Rounding up the whole EP, the last remix of the record is a wonderful re-interpretation by the talented Australian that is Mosam Howieson. He ministered to Wice's personal favourite piece and crafted a loving and deep version of "Hertz", which translates the magic of the original into own words and emotions, adds a subtle groove to it, then invites to listen more carefully. One quickly dives into a hopeful world in which a certain magic seems to be present, and where everything seems to be alright. Be it as a perfect last piece after a long fulfilling evening, or as the outstanding means to make the sun rise in the morning-Mosam's interpretation sure hits the spot.

Special thanks go out to our close friends Simon Sandleitner who is always in charge of the great artworks and Roger Reuter (Roger23) for having always an open ear, his helpful advises and his thought-out criticism.

We are honored to release the debut album from Violet, the alias of Inês Borges Coutinho, Lisbon born and raised DJ, producer boss of Naive records, co-founder of Rádio Quântica, and mina resident. Violet began producing music in 2012 and has released music on One Eyed Jacks, Love on the Rocks, Paraíso and Naive. Inês uses her seemingly boundless energy to amplify other artists all the while progressing her own creative practice.

‘Bed of Roses’ contains 10 songs made as a sort of childhood-teenage memories diary, a return to things Inês liked then and also the difficult things she’s been through. The feeling behind the album is self forgiveness in an optimistic way but also in an adult way, aware of the bruises (thorns) but also of the invaluable love and life experiences (roses). The title comes from the Bon Jovi song that Inês loved as a 9-year old and doubles as an intent of positivity paired with the inescapable darkness of life. Inês says, “I wrote this music as a healing device that I hope can somehow help heal others too.” All songs have been mastered by George Horn at Fantasy Studios. The jacket features an original design by Eloise Leigh that incorporates themes of self-inspection and hope mixing a teen bedroom girly vintage scrapbook aesthetic with contemporary 3D mapping techniques. Each LP contains a postcard featuring a childhood photo of Inês with notes.

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Glenn Astro conquers new territories with Naturals, fusing elements of Balearic and leftfield house with tribal and acid sounds on Tartelet Records.

In an impressively short amount of time, Glenn Astro has created a musical universe that’s entirely his. With full-length releases making waves on Ninja Tune and Apollo Rec, the sister label of R&SRecordings, the Berlin-based musician assembles a perfect pastiche of influences on his forthcoming EP Naturals, coming out on Copenhagen’s Tartelet Records this September.

Exploring the outer fringes of the Balearic sonic spectrum, Naturals delves into unexpected sound territories without losing touch with planet home. Sub-heavy drums mix with private oceanic field recordings, futuristic synth, and effect pedal workouts, delivering a four-track EP that is novel but honest to the bone.

“I tried not to take any direct influence from any particular music I was listening to,” Glenn Astro says. “Instead, I tried concentrating on where the instruments and effects were taking me, experimenting with different ways of using the gear that I know so well.”

Inspired by Sicily’s natural beauty, the juxtaposition of its rough landscapes and clear blue waters, Naturals takes listeners on a journey into unfamiliar sound; a conscious diversion from his usual style and yet an instant dance floor cracker infused with the artist’s signature panache.

“I made most of the record while being in Sicily,” he says. “In retrospect, it is easy to hear that the volcanic landscapes contrasting the idyllic beaches were a major influence.”

The EP opener “Naturals (Unsweetened Mix)” is a beautiful freak – a peak-time cut – starting out with tranquil ambient melodies and water drop percussion followed by a beasty acid line and slick drum programming. Next, “Naturals (Dance Mix)” slows it down to 116 BPM, taking a completely different route with a hypnotic dance between tribal and dub – a wonderfully weird closer.

On the flip side, “Slarutan (Pristine Mix)” emerges au natural with Sicilian field recordings, layered pads, playful melodies, and crisp drum programming. Saving the best for last, “Slarutan (Water Mix)” dips its toes into the early days of dance music, shifting into futuristic, ambient dub territory with divine melodies and filtered percussion.

“This one is for the plants and the trees. Return to planet Tartelet,” Glenn Astro says.

In early 2018, Jas Shaw, one half of Simian Mobile Disco was diagnosed with a rare health condition – AL amyloidosis – a disorder of bone marrow cells. Having just completed SMD’s 7th studio album Murmurations and with a special show at the Barbican scheduled for April, things were thrown into confusion. At the time, no one, including Shaw, knew how the prognosis would pan out. Jas had to start chemotherapy almost immediately, which meant cancelling the tour. The duo decided to go ahead with the Barbican show in spite of Shaw’s illness, which was especially poignant as all involved knew it could potentially be SMD’s last ever live performance – in the end it turned out to be a tour-de-force. If this was SMD’s swansong, so be it.

In the year that followed, Jas spent months receiving weekly chemotherapy, learning to live with his condition, and when he felt well enough, spending hours in his studio making music.

The result of this was twofold, firstly a collaborative album with Derwin Dicker (Gold Panda), released as Selling – On Reflection, on City Slang Records Secondly, a growing archive of solo work, which is now ready for release. Entitled “The Exquisite Cops”, this 20+ track growing body of work will see the light of day via SMD’s Delicacies label – with a 2-track single released every fortnight /month and a limited
edition double LP scheduled for 27th September.

At the end of 2018 a difficult year was capped with hopeful news. With his condition in remission, able to stop chemotherapy Jas is able to start DJing and playing live again.

Jas: “The Exquisite Cops tracks seem to have made their own system for creation. Normally I record electronic music like a band would, as a take. So, it’s kind of surprising to me that that this batch of tracks wasn’t made this way. Instead of a single take that gets edited and developed these tracks were all made in bits, usually months apart. Some days I’d make a drum track, often editing it down so that it’s some sort of semblance of a structure; on other days I’d end up just making a synth sound or texture. This wasn’t something that I gave into reluctantly, it’s nice to be able to give a feedback based pad your whole attention rather than just set it up and only attend to it if it gets really out of hand.

The process of matching these misfits together was originally born out of laziness, rather than break open the synths to make something to develop an idea, what if I could just use something that I already had; slack. The interesting thing was that in pulling two takes together that were done months apart, they cast each other in a different light and though sometimes making them fit together was a hatchet job, sometimes they locked up together in an improbable way, making the rough structures that I’d improvised make a different sort of sense; often a more interesting sort of sense.

The more I did this the more it felt like this was not just a slacker’s way to use up offcuts, this resulted in combinations that I’d probably not have chosen if I’d done the tracks in one go. Also, and I know this isn’t something that’s important to everyone, there was a level of fastidious detail that I’d never have got if I’d had the textural and rhythmic elements playing together. It’s a longwinded process but it’s changed how I record and how I think about recordings I’ve made; plus I enjoy all parts of it so why cut it short?”

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

Argentina jazz funk fusion with two tracks first time on a 45 ! hand numbered to 500 copies. Strictly no repress !

Repress

Five years ago, the expression Russian electronic scene bore a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of Gost Zvuk, Russian electronic music achieved power not only as cultural phenomenon within country s borders, but also fully proved to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.

Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; from HMOT s chaotic improvisations to kedr livansky s ethereal grooves, from unearthly landscapes of Gamayun to undistracted concisions by Ol or Buttechno. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker s mastering.

Maybe this compilation won t close the question What is the Russian Sound? , which has been arising for more than twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.

Future Times is very pleased to announce that our next release will be a 7" single from Oakland's Motoko & Myers! This duo is made up of Wonja & DJML, both of whom have blessed electronic music in numerous ways recently together and individually, via releases on Jacktone, DJing together for their Herzog Hideout radio transmissions, and their amazing album from 2018, Basis Key, released via Bass Clef's digital imprint Open Hand Real Flames.
M+M make music from a really special place, wild tones, drum-machine-breaths and weird, pitched synth space combine with a sense of rhythm that folds in on itself. B-Side "Whimbrel" represents this perhaps best of the two songs, with a loping, wandering-on-the-beach sense of synth space and not-quite-dancehall drums. "Plover", however, is a perfect set-starter for the techno freaks, with the lightest drums coming in halfway over a thick, shifting loop of perfect glass techno for the DJs. Tip!

Limited pressings of analog techno and electronic music .

The project highlights the personal outlook of Gaffarel’s underground sound.

known as Gaffy on his previous singular productions, percussive DJ sets and stupendous live acts, this imprint is a new platform for the Parisian artist to introduce his solo work, collaborations and remixes.

He has skillfully blended forthcoming EP’s with a mix of complex mental grooves, meticulous frequencies, conspicuous themes and textures, capturing a musical universe with remarkable knowledge.

For COS_MOS's next trick they serve up a special 12” that features a brand new single from M>O>S super group R-A-G, also known as MaSpaventi, Aroy Dee and G-String. It comes backed with a re-release of one of the key tracks of the previously released Crystal Maze album on aDepth Audio. A fierce and full 45rpm re-cut of 'Dr Claw' that has been a secret weapon of Aroy Dee for many years. It's a raw cosmic adventure, with warm solar winds blowing over prickly drums. Twisted bass and knotted pads wrap round the groove as a detuned lead synth heads into a Legowelt-ish future. 'Larry Venom', stirs things up with a deconstructed, off kilter mix of beeps and drones with marching drums adding to the feeling that this is a robot party in meltdown. This is a brilliantly left of centre EP of intergalactic house.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

Athens of the North is very pleased to introduce part two of our nod to the world of library. This time round Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year,a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg's output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical heritage.

In celebration of 5 thrilling and inspiring years of work, we've gathered well-known artists, Goldmin regulars and emerging talents for a new compilation of Various Artists 12s". It was really important for us that the compilation express the elusive nature of the Goldmin sound. Over the past 5 years, we've had the chance to meet most of these artists in person, and follow their very own creative paths, as well as share thoughts and ideas. They've all had their own part to play in crafting the sound of the label. What it comes down to is a genre defining selection devoid of any specific standard or norm. The compilation reflects the unique sound which has grown throughout our whole catalogue, since the label's birth 5years ago. That's why, picking this selection of tracks, that we feel illustrate Goldmin Music's essential freedom was one of toughest things we've ever done. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they've all been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session, and they all fullfilled their duty!"

When two dudes collide in a cosmic paradise, very special things happen. Black Spuma, otherwise known as regular transcendental misfits Phillip Lauer and Fabrizio Mammarella, come correct with a new EP of enchanted grooves for Futureboogie.
Breaking their run of EPs for the International Feel Recordings label, a trio of cuts are lined up on the ‘Crunch Level’ EP.
Title track, ‘Crunch Level’, is a throbbing, pulsating, bit-crunching beast of a track, a full mind and body workout that evokes the darker shades of early acid and new beat. ‘Agguato’ also packs a punch, with drums so big that Stock, Aitken & Waterman would most definitely approve, whilst a waves of hedonistic tones cut through feint melodicas and space invader tropes for a mind melting moment.
Never to end on a whimper, Adamantine goes out with a bang, with an ecstatically buoyant rhythm section and glacial melodies that’ll be transporting you back to the bright neon lights and dry ice of some long forgotten 80’s sweatbox.

Her polyrhythmic compositions integrate a wide array of musical genres, including Afrofuturistic electro and techno, classical solo piano and Detroit legacy house; all memorable journeys into deep, abstracted sound.
Hosting a monthly radio show on the renowned NTS, Afrodeutsche entrances listeners with her idiosyncratic combinations of dark electro, breaks, footwork, ghetto tech and jacking house.
Forever evolving a fully live hardware show, Afrodeutsche has already appeared alongside celebrated producers Dopplereffekt and Carl Craig, with many more to come.
Her remix of Montreal producer Marie Davidson’s ‘Day Dreaming’ was released earlier this year on Ninja Tune. 2019 sees her releasing genre-defying new material and touring across Europe, with appearances confirmed at Dekmantel (Amsterdam), SONAR (Barcelona), and Dimensions (Croatia).
Praised by the Guardian for enacting a new wave of club music, named by Dummy Mag as one of 2019’s most exciting artists, Afrodeutsche’s spectacular debut album ‘Break before Make’ will be released on all formats in the Autumn of 2019 on the legendary Skam label.

In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

With the assistance of Chris J. Morris, Left Ear Records has extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor. Full liner notes translated in English and Spanish with archival photos included.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Flatliner, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The year is 1994 and the awesome combination of Flatliner & Ant Miles gave life to the infamous tracks ‘The Big Bang’ / ‘No Boundaries’. Release no 9 on RAM records tore up sound systems at every Rave in the country. A follow up was on the cards and ‘Flatline’ was born. Put to one side to make way for the Big Bang/No Boundaries remixes, somehow it never resurfaced again... until now!
* A similar story evolved for the A side ‘Just Stop’. A track made in the latter part of 1995, Flatliner comes with yet another amen monster, but this time taking things on more of a rolling Drum & Bass vibe. A golden nugget to own on vinyl for any true Jungle/Drum & Bass fan.